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A Synthesis of Cultural Adaptation and Representation in Animation International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS An Initial Attempt: A Synthesis of Cultural Adaptation and Representation in Animation Muhamad Azhar Abdullah, Nabilah Abdullah To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i12/8354 DOI:10.6007/IJARBSS/v10-i12/8354 Received: 07 October 2020, Revised: 12 November 2020, Accepted: 30 November 2020 Published Online: 26 December 2020 In-Text Citation: (Abdullah & Abdullah, 2020) To Cite this Article: Abdullah, M. A., & Abdullah, N. (2020). An Initial Attempt: A Synthesis of Cultural Adaptation and Representation in Animation. International Journal of Academic Research in Business and Social Sciences. 10(12), 546-557. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 12, 2020, Pg. 546 - 557 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 546 International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS An Initial Attempt: A Synthesis of Cultural Adaptation and Representation in Animation Muhamad Azhar Abdullah Faculty of Film, Theatre and Animation, Universiti Teknologi Mara (uitm), Selangor Branch, Puncak Perdana Campus, 40150 Shah Alam, Selangor Email: [email protected] Nabilah Abdullah Fakulti Pendidikan, Aras 5 & 7, Bangunan fsk 1, 5, Kampus Puncak Alam, 42300 Bandar Puncak Alam, Selangor Darul Ehsan, Malaysiaa Email: [email protected] Abstract The use of cultural representation is becoming more evident in contemporary animation and has developed its own circle of aficionados. The intensification of criticisms on the use of cultural elements in contemporary animation is most apparent after the release of the feature-length motion animation – Mulan, in 1998. It has been set as an exemplification of an erroneous attempt for cultural adaptation in an animation. However, Nikelodeon’s animated series Avatar: The Last Airbender (2005-2008) succeeded its predecessor, Mulan, from critical criticisms and controversies related to cultural adaptation despite displaying distinct visual cultural elements which were immersed in its animated features. This paper delved into reviewing the exploits of cultural representations that are integrated in the arts and storytelling of an animation production and attempts to synthesise the findings comprehensively. The synthesis reveals that although the elements used in an animation may have distinct visual cultural elements, the adapted intricacies and ‘shifts’ in animated visuals and storytelling have trawled meaningful transcultural audiences. Keywords: Cultural Representation, Contemporary Animation, Transcultural Audience, Cultural Shift Introduction Cultural appeal has been exploited in animation either for short or full-length animated productions, television series and video games since its early developmental years such as Lotte Reiniger’s 1926 full-length silhouette animation titled The Adventures of Prince Achmed. The practice of injecting cultural elements for audience appeal in many contemporary animation productions, especially since the release of Disney’s animated feature-length Mulan in 1998, has received numerous criticisms for various reasons including fallacious cultural representations. Those who made their observations with relative inclinations in historical or socio-anthropological perspectives might find that inaccurate representations on 547 International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS the details and elements of certain people and cultures are presumptuously ignorant. Therefore, it is critical to apprehend that the use of animation in presenting a story based on either an adoption or adaptation of non-fictional events is a form of utilizing an instrument to “offer a different representation of reality or create worlds governed by their own codes and convention that radically differ from the real world,” (Wells, 2006, p.10). The animated series Avatar: The Last Airbender produced by Nikelodeon which aired from 2005 and ended in 2008 is a substantiation of the proposition made by Wells. The series have chiselled notable character design and background setting that are visually and culturally marked as Asian but not exclusively ascribing to a culture or people in its entirety. Though the characters and background used in the animated series are not ascribed to any specific Asian identity, blending mimesis and fantasy in the animation arts have garnered Avatar: The Last Airbender global acclamation. The subsequent paragraphs provide a review on the animated series’ successful presentation of distinct East Asian identity through its character design and background setting, while stroking elements of culture with finesse that deserves a venerable installation in the study of animation. Therefore, it is valuable to further investigate the uses of heritage elements in animation towards a more sustainable creative-cultural development and in efforts to avoid contentious observations from the audiences. Background of the Study and Rationale Culture has a crucial role in the sustainability of a people and nation which eventually is considered as one of UNESCO’s seventeen Sustainability Development Goals. Within the framework of the SDGs, culture has been given its due attention in UNESCO’s efforts towards cultural inclusivity in the socio-economic development of a nation. With leading-edge development being exploited in numerous activities, the SDGs work in tandem with the aspirations of experts and organizations in various sectors towards developing a sustainable culture. Believing that efforts can be optimized through collaborations and partnerships with the creative industries, UNESCO’s SDG can be used as a framework that promotes “culture as the enabler and driver towards economic, social, and environmental dimensions of sustainable development” (UNESCO). Therefore, the animation industry can benefit from such efforts in promoting heritage to the audiences through cultural representations in animation. Many sectors are becoming more aware on cultural diversity especially with the development of cutting-edge technologies where information are easily made accessible. Animation is among the trailblazing sectors that move progressively in its innovation alongside technological advancement. Although animation has for many years integrated cultural elements in its presentation, it did not get much global attention in the more contemporary setting until the release of the full-length motion animated Mulan in 1998. Many criticisms arise when critiques highlighted what are believed to be evident cultural misrepresentations. It was later cautioned by Wells and Moore (2016) that the creative fantasies by animation creators can be considerably in contrast to the real world setting. They further highlighted the importance of performing detailed research during the pre-production stage in the development of an animation production. Since animation is a presentation that involves the dynamics of visual arts and sequential visual storytelling, the audiences are able to inspect almost every aspects of a production. The debates built up concerns in diverse topics with regard to cultural representations in animation and this include identifying the justification for using cultural content in an animation production. 548 International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS It may also need to be underlined that animation as a form of adaptation entails for some form of re-writing in the source of the material. Consequently, if cultural elements are to be exploited in an animation production, it might be best to have a framework that can provide some form of direction in the selection of cultural elements to be appropriately used in an animation towards developing adequate visual and audio-visual representations. Systematic observations on the cultural poly-system could increase further awareness of the acceptable and non-acceptable elements to be used even with some touches of adaptations. Nevertheless, it may be applicable to use the recommended suggestions by Perdikaki (2018) in the context of animation that adapting content from a literature (in this context, culture), would involve rewriting in that source of material but ‘repackaged and repurposed for a new audience’ (p. 172). Perdikaki went on to suggest that adaptations would still rely ‘on the norms and conventions in the systems involved’ (p. 172) and in this case, animation production process. With good technologies and avant-garde tools becoming more accessible, innovation in animation becomes remarkably vigorous. Numerous productions have experimented and optimized these augmented technologies to produce animation for increased transnational and transcultural
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